Quotes of All Topics . Occasions . Authors
There are no rules. You can write a story, if you wish, with no conflict, no suspense, no beginning, middle or end. Of course, you have to be regarded as a genius to get away with it, and that's the hardest part - convincing everybody you're a genius.
My metaphor for translation has always been that translation is really a performance art. You take the original and try to perform it, really, in a different medium. Part of that is about interpretation and what you think the author's voice really is.
I think male authors who want to try to tackle these issues of representation of women can generally do a better job if they try to question traditional notions of masculinity and the sort of toxic nature of traditional ways of presenting masculinity.
I think writing novels has taught me more about the value of patience and being organized. I've learned to use timelines and wikis to track decisions and make sure everything still fits together. It's both easier and harder than writing short fiction.
All writers, in all viewpoints, must choose which information and scenes will be presented, and in which order. In that sense, the author is always represented as a point of view in a work of fiction. His hand can always be detected by the discerning.
There is a universal fascination with the living dead. There is more to a zombie story that a bunch of corpses attacking the living. The real power of such a story lies with the undercurrent of hopelessness compounded by a very real instinct to survive.
One evening, after my wife and son had gone out for a walk, I decided to have a talk with my neighbor, who I believe was murdered. I had gotten to know and admire him by listening to people talk about him. He seemed a wonderful person with much to give.
Writing a story is pretty all-consuming for me - it feels a lot like method acting, and for the eight or twelve or fifteen months that I'm working on a story, I'm constantly thinking about how my narrator would react to whatever tangled situation I'm in.
I need to feel as if everything is clean and in its proper place before I can even attempt to write one word. At least, that's what I tell myself. I make the bed, I put away the dishes, maybe I dust, maybe I do the laundry, maybe I go to the post office.
Science fiction writers create all sorts of futures - that comes with the job. But it's not the type that matters - hopeful or dark - it's the variety we see as readers. It's nurturing the imaginations of those who will go on to create the world around us.
I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.
I liked the push and pull of that, between the outer political world and the inner personal lives of the characters. It's also real life... Many of us are keenly aware of world events, but break your nose and I bet that's the main thing you'd be focused on.
My interest in women's voices started when I was in the boys' choir and we were singing in opera choruses. That was my first close-up experience with the female soprano voice. I was amazed at how it could be within the same scale but so different in quality.
From about the age of 15 or 16 I'd had the notion that I wanted to write fiction, and I'd done enough in college to satisfy myself that I had a knack for it - I wouldn't call it "talent" - though I wondered if I'd ever have the guts to actually commit to it.
Science fiction is essentially a kind of fiction in which people learn more about how to live in the real world, visiting imaginary worlds unlike our own, in order to investigate by way of pleasurable thought-experiments how things might be done differently.
We live in a bureaucratic, atomized world, but the system is still run by human beings. If as a writer, you want to capture the world we live in, I think you have some responsibility to at least try to get at some of the ways we've chosen to govern ourselves.
Paul Lisicky, in his new memoir, 'The Narrow Door,' describes losing his old friend, the novelist Denise Gess, and his husband, the acclaimed poet and memoirist Mark Doty, within a year of each other: Gess to cancer, at the age of 57, and Doty to another man.
Science fiction is essentially a kind of fiction in which people learn more about how to live in the real world, visiting imaginary worlds unlike our own in order to investigate, by way of pleasurable thought-experiments, how things might be done differently.
The belief that public health measures are not intended for people like us is widely held by many people like me. Public health, we assume, is for people with less - less education, less-healthy habits, less access to quality health care, less time and money.
I think that people's resistance to vaccination isn't going to disappear until we address some of the nonmedical reasons for that resistance and people's discomfort and distrust of the government. That's bigger than what most medical professionals can handle.
The hard part of writing at all is sitting your ass down in a chair and writing it. There's always something better to do, like I've got an interview, sharpening the pencils, trimming the roses. There's always something better to do. Going to a writer's club?
I've been writing long enough to know that fiction, as a rhetorical mode, works very differently from expository writing. If an author has a specific critique about contemporary society in mind, fiction tends not to be the best means to deliver that critique.
I couldn't understand what was important about school. Dropping out was the first adult decision I made. If I ever have kids, I would hate for them to drop out. But I wasn't a rebel. I never cared to be against school. I just wanted to do what I wanted to do.
The smartest thing I did in law school: asking my future wife to go out dancing with me. The smartest thing I did when practicing law: quitting. The smartest thing I've done in writing: following my own head and writing what I wanted to write, and nothing but.
I took two fiction-writing courses in college and majored in literature. I felt that I had a knack though I wouldn't go so far as to call it a talent. But it scared me. I felt it was a childish thing wanting to write and that I would forget about it eventually.
The day in 2011 that I went to the office of the city clerk in lower Manhattan with my partner Dustin to register for our domestic partnership was coincidentally also the first day same-sex partners were allowed to register for marriage in the state of New York.
Because I really love tax, tax topics actually feature quite a lot in my fiction of various lengths. I once wrote a science fiction short story centered around the idea of an alien tax code, and the idea that you can understand a society by parsing its tax code.
It wasn't until I had been writing on and off for maybe ten years that I started to establish any kind of routine, thought I couldn't put a finger on an exact date, and this routine relates simply to the aphorism 'How do you eat an elephant? One bite at a time.'
Americans generally associate boats with leisure. Vastly less prosperous, Egyptians associate them with nothing but labour. Rowing a boat is something a fisherman is forced to do to make a living; how could such an activity bring me - a woman no less - pleasure?
Microsoft has gotten so big that it can put out a Preview that will install itself without checking first to see if it has expired. The message here is that Microsoft's time is worth more than yours.... no start-up company could get away with being that arrogant.
One of the things I admire about longer stories is the way writers can work with dead time and slower, more idle moments - not only can they feel expansive, they feel lived-in; the unhurried pacing often makes the endings even more resonant and surprising for me.
If a person wants to be of any use to himself, he better insist on getting his fair share of beauty and pleasure, and if there's something about the system that's keeping him from getting his share, then I think he's well within his rights to fight to change that.
If, like Harry Keogh, I could talk to the dead - God, there are an awful lot of people I would like to speak to! Not least my father. Being in the army for 22 years, I didnt see enough of him, and I know there are a great many things I could have learned from him.
Greasy food might not be good for your body, but it does wonders for the soul. A healthy diet may prolong your life, but what would you have to live for? What is the point of living to a hundred if you have to subsist on bland food? One may as well die of boredom.
For 'The Grace of Kings,' I read Han Dynasty historical records in Classical Chinese, which allowed me to get a sense of the complexity of the politics and the 'surprisingly modern' reactions of the historical figures to recurrent problems of state administration.
If you've grown up with guns, the thought that someone might take them away makes your stomach churn. They make you feel safe. If you didn't grow up with guns, if you don't know how to use them, then the thought that someone else has them makes your stomach churn.
If, like Harry Keogh, I could talk to the dead - God, there are an awful lot of people I would like to speak to! Not least my father. Being in the army for 22 years, I didn't see enough of him, and I know there are a great many things I could have learned from him.
It was the law that if a white man was caught trying to educate a Negro slave, he was liable to prosecution entailing a fine of fifty dollars and a jail sentence. . . Our ignorance was the greatest hold the South had on us. We knew we could run away, but what then?
For so many of my characters, they were political in their own countries and they risked their lives for certain political beliefs that they had, only to be brought to America where they're not treated like Americans - they're just not really treated like anything.
I, for one, find writing excruciating. Some mornings, as I'm on my way to my desk, my hands actually tremble with fear. The fear, of course, is that I'll sit down at the desk and discover that what I've written is claptrap. Fear inevitably leads to procrastination.
That is much of what I think the writer's job is - to slow people down. To give them the chance to notice the passage of time as experienced by others as a reminder of what it is like to be alive. Because we are most often distracted from that. Massively distracted.
I always begin with a source of inspiration that comes from nature. The story comes from my research, volunteering, and meeting the people involved in that story world. I am an intuitive writer and an image, sound, experience can all inspire a scene or a plot twist!
The fact is, people who don't have any misfortunes are very irritating to their neighbours. No opportunities for popping in with condolences and new-laid eggs. No visits to the afflicted. No opportunities for the milk of human kindness to flow. Naturally it doesn't.
I agreed to go on a date with a nice young man who was a former student of my uncle, who taught music in high schools and colleges. The nice young man took me to a party at his sister's, where I met people who introduced me to virtually all the elements of my future.
When the kids were growing up, I think they thought the worst thing about me being a mom is that I would laugh at them. They would say something that they thought was serious and intense and I would laugh. I thought it was funny, but they don't want to be laughed at.
If your reader has been given a rousing opening, he will usually then sit still for at least some exposition. But be sure to follow that chunk of telling with one or more dramatized scenes. That's much more effective than being given section after section of telling.
If one person in a group of ten is missing the tip of his little finger, I will notice it almost immediately. This extreme attention to visual detail is not a virtue, just a fact of my person. It happens seemingly involuntarily and strikes me as neither good nor bad.
My fascination with women's clothes began very early. My mother was a very fashionable woman. She also made her own clothes. She had these fashion magazines, and I would draw the women in them. My middle school art teacher suggested that I have a fashion drawing show.
Writing might be unalloyed joy, were it not for the fact that power is always shadowed by responsibility. Thankfully, the absolute power that writers have is not weighted down with absolute responsibility. It can neither be suppressed nor diminished, except by choice.
Much of economics isn't difficult, or rather, the difficulty is in cooking up arguments to "prove" that commonsense conclusions are wrong. The fact is that many commonsense conclusions are quite correct, and it takes a lot of education to get you to believe different.